The National Philharmonic, together with guest soloists and the National Philharmonic Chorale, present an all-Bach evening showcasing a selection of the composer’s greatest and most universally beloved works. Saturday’s highly anticipated concert features the Brandenburg Concertos, Nos. 2, 3 and 4 and the glorious “Magnificat in D Major.” All of the works chosen reveal a lighter, more joyful side of Bach’s sublime genius.
“Everybody loves the [Brandenburg] Concerti,” said associate conductor Victoria Gau, who will be filling in at the podium for music director Piotr Gajewski. “I think there is something that makes [audiences] happy when listening to them — the overlapping of all the different kinds of melody and all the different instruments popping up. They just really have a universal appeal.”
In fact, each of the six concerti highlights a different musical combination. In the Concerto No. 2, four solo instruments are featured: the flute, violin, oboe and trumpet, with strings and basso continuo. Concerto No. 4 showcases an unusual combination of the violin with a pair of flutes.
| Onstage |
| Bach’s Brandenburg Concertos with the National Philharmonic |
| Where: The Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda |
| When: 8 p.m. Saturday |
| Info: $28 to $81; 301-581-5100; strathmore.org |
| For information on the Metropolitan Jazz Orchestra show this weekend at GMU, visit washingtonexaminer.com. |
“I really would like for the audience to feel a sense of joy, a sense of the richness of the music of Bach,” noted Philharmonic flutist Nicolette Oppelt, who performs as one of the duo of flutes.
“We tend to lump it all together but the concerti are definitely one of Bach’s most popular works because of his instrumentation. He wrote them for multiple instruments and unusual combinations, especially for the time.”
Even people who are not particularly familiar with Bach’s music will, no doubt, recognize the melody of his “Brandenburg Concerto No. 3,” with its stellar instrumentation for strings. Some may even recall having heard the piece featured prominently in the 1968 album, “Switched-On Bach” by Wendy Carlos and Benjamin Folkman. Here, the artists demonstrated the use of the synthesizer as a legitimate musical instrument.
“Joy” and “happiness,” words used by both women, are thoroughly imbued in Bach’s masterpiece, “Magnificat,” a celebratory work for chorus, soloists and orchestra. The piece, first performed on Christmas Day, recounts Mary’s happiness and sincere humility upon learning she is to become the mother of Christ. “My soul magnifies the Lord,” is sung joyfully.
“This piece completely lifts you up as a performer and a listener,” Gau revealed, her own joy resonating in her words. “The whole concert is designed to send you home having forgotten about anything that was bothering you before.”
